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Pehchan (1970)

This entire review is nothing but a giant spoiler, because the ending especially is So Many Kinds of Wrong that I cannot do anything but tell you all about it. My sister pointed out that if Rush Limbaugh and his ilk were to make a film this might very well be it, a sentiment I fully agree with. It spouts the same judgmental and self-righteous crap that those people do and is just as egregiously dumb, although clearly many people don’t find it as obviously stupid as I do. It’s a typical Manoj Kumar venture: everything modern (or progressive) is evil and can only be redeemed through the influence of traditional (and repressive) values and mores. It sums up exactly why I hate his “Mr. Bharat” persona.

Sweet pure Gangaram (seriously, this is one of MK’s most nauseating roles ever) comes to the big bad city from his village in order to find a bride. He meets a woman named Champa (Chand Usmani), helps her escape from the brothel where she has been trapped and adopts her as his sister. He also rescues an old crippled man called Baba (Balraj Sahni) from being beaten up by a nasty piece of work named Raju (Kuljeet, one of only Three and a Half Good Things about the film). Raju is after Barkha (Babita, who is Half a Good Thing), the wayward modern daughter in a wealthy family. Baba was crippled in a fire when he rescued Barkha as a child from her burning flat, and Ganga brings them into each other’s lives again and falls in love himself with Barkha.

Barkha inexplicably returns his feelings after Ganga gives her a cookbook for her birthday.

Granted, her choices are creepy Kuljeet or village idiot Ganga, but still. I might well have gone with creepy Kuljeet.

There are lots of references to Ganga’s purity and his ability to cleanse away the sins of modern living, with all the parallels possible between Ganga the man and Ganga the holy river drawn and then used to beat us repeatedly over the head.

When Barkha’s mother (Sulochana Latkar) agrees to get them married, her brother Rakesh (Sailesh Kumar) takes the proposal to Ganga’s home and finds Champa there.

He recognizes her and rushes home to tell his Ma and Barkha that she can’t marry Ganga because his sister is a prostitute. Amidst a great wailing and screeching of shehnais (or is it some other instrument?), Barkha and Ganga break up and we discover that Rakesh knows all about Champa because he seduced her on a visit to her village and then abandoned her. When she came to the city to marry him as he’d promised, he sold her off to the brothel to get rid of her.

Champa now goes to plead with him not to let Ganga’s good deed in rescuing her interfere with his marriage with Barkha, and predictably Rakesh sends her back to the brothel. Ganga rescues her again after discovering the truth (they have to fight off the goons Rakesh has sent to kill both of them):

and decides that he will get Champa married to Rakesh.

They meet Rakesh, and Rakesh pulls a gun on them.

Champa manages to get the gun away from him, and Ganga slaps her when she points it at Rakesh: it is a great sin to threaten your husband-to-be (although apparently not a great sin to slap her for trying to save her own and Ganga’s life). This results in Rakesh getting the gun back, and he shoots Champa in the back as she flees with Ganga.

Meanwhile, Baba has gone to Barkha and told her the truth about Champa and Rakesh, with the result that she and her mother (Sulochana) also decide that the obvious solution is to get Champa married to Rakesh.

Everyone ends up at Rakesh’s hotel on the occasion of his engagement party to wealthy Maya (Lata Bose), including Ganga who arrives with the bullet-ridden nearly-dead Champa.

They all give Rakesh a whole lot of “do-overs” along the lines of: “Okay you messed up but do the right thing now….Okay you messed up but do the right thing now….Okay you messed up but do the…” You get the picture.

But he continues to make poor decisions, culminating in his setting his own hotel on fire in order to kill poor unconscious Champa who has been left inside. Ganga rescues her again, and finally Rakesh, cornered now by his family and the police, runs into to the burning building to kill himself. Ganga goes in to save him for the sole purpose of…yes, you’ve got it: getting Champa married to Rakesh!

Rakesh is finally purified by I guess the combination of fire and Ganga. He apologizes to all and to everyone’s joy agrees to marry Champa, the woman whom he (let me recap for you):

seduced and abandoned

sold off to a brothel

sold off to the brothel a second time

sent his goondas to kill

when they failed, shot in the back himself

when that failed, tried to burn alive

That, my friends, is our happy ending. I haven’t even gone into Champa’s ongoing penchant for suicidal self-sacrifice although it comes as no surprise when she regains consciousness just in time to be grateful.

So why did I stick with it? Well as usual I don’t really know, except that it was cartoonish enough and so really over-the-top idiotic and self-contradictory (much like Fox News) that I just had to roll my eyes and giggle.

*Arghhhh*

Barkha is a lively, self-confident girl whom I really like before she meets self-righteous prig Ganga and is transformed into a moron, which is why I give Babita Half a Good Thing status. She is a large part of the other Two Good Things (besides Kuljeet) about this film too: the fabulous songs “Lo Aayi Hain Jawani” and “Woh Pari Kahan Se Laaoon”.

The first she performs at a charity dance show after telling her conservative prospective in-laws (a groom her parents have fixed her marriage with at the beginning of the film) that she will be performing “Sita’s exile”—they break the engagement after seeing this, which of course was her plan all along. She looks gorgeous in this, and for the first time I see a resemblance between her and daughter Kareena.

And the second she sings with her friends as they tease Ganga about looking for a bride in the city. It is so much fun that I even like Ganga in it!

These songs are the reason I got the film and watched it despite my serious aversion to all things Manoj. I am saving you the agony of watching it by linking the videos here. Skip the torturous stupidity of the movie.

67 Comments to “Pehchan (1970)”

Hahaha, you have described a typical Manoj Kumar movie with great accuracy. Indeed songs must be the only redeeming feature of this movie alongwith the few things that you have mentioned.

Interestingly enough, Manoj Kumar had a big fan following for this kind of judgemental movies in 1970s. Why others, even I was a fan of such movies !

Fortunately, things have changed and Indians have matured (have they ?) and there may not be as many takers of this kind of movie now as there were in 1970s. The fact that India now a days is a part of the global economy is one of the main reasons why progress and modernity is no longer dirty words as defined by movies like this.

Indeed I will steer clear of any Manoj Kumar movie, not just this one. Am I sounding as judgemental as a Manoj Kumar movie ? At least I am not forcing my judgements down the throats of others.

I seriously do not understand how any society at any time would think that marrying Champa off to Rakesh is a good idea, let alone such a desperately NECESSARY thing. But that apart, it reminded me very much that this kind of judgmental and narrow-minded thinking does still thrive, and not just in India believe me!!!! But even Gumnaam cannot make me like Manoj Kumar :) and if that makes ME judgmental…no wait, it makes me discriminating…no wait, that’s not right…

My hatred of Manoj Kumar began with this movie…the slapping of Champa being the pivotal moment. But I do like the ‘woh pari kahan se laaon ” song as well. The lyrics are cute and it’s not too often you get Sharda, Suman K and Mukesh all in one song.

Oh my GOD—thank you for reminding me of this: both Champa and Barkha were slapped so repeatedly that MY head hurt. What the fuck is that about?! My theory is that MK hates and fears women and battles with his own inner sleazeball urges, which is what makes him so sanctimonious and holier-than-thou. And so the comparisons between him and right-wing conservatives continue…

Eww… Even Raj Kapoor’s annoying tramp is a masterpiece compared to Manoj Kumar’s simple simon act here. I would only sit down for this (or any of his “Bharat” films) if I was in the mood to do penance for some hideous acts of cruelty, or if I wanted to make a case for misandry. Hmm… maybe Deepa Mehta saw this film and thats what has turned her into a permanent misandrist?

You deserve kudos and a big gold star from us for sitting through Manoj Kumar movies! The only Manoj Kumar movie I tolerated was Pathar ke Sanam – that too only for Waheeda Rehman & Mumtaaz and the lovely songs!

If you are indeed his wife, then no offence
meant – i am sure MK must be a good guy
and a loving husband. We are discussing him
as an actor, producer and director here –
after all most of us wouldn’t know him in
person – right memsaab?

Oh, no !! I am not his wife :-) But I do have some goodwill for him since he used to be a good friend of my favourite, Dharmendra during their struggling days in the early 60s.

He had recommended Dharmendra for a few movies and Shaadi (1962) happened to be one of them. Of course, the next time they worked together was after over three decades for Maidaan-E-Jung (1995).

Also, I believe Manoj Kumar and Shashi Kapoor had an understanding that if either of them happened to direct a movie, they will definitely cast each other in a role. Manoj kept his promise in Roti Kapda Aur Makaan (1974), Kranti (1981) and Clerk (1989).Not sure why Shashi Kapoor didn’t case him in Ajooba (1990) though.

He was okay in Gumnaam and Anita (the movies are good fun despite him, not because of him), but I dislike Woh Kaun Thi and Upkar. I think I saw Do Badan once and instantly then forgot about it :) Sorry—cannot be an MK fan.

U wanna bet, despite all the advancement?, holier than thou and self righteous attitude still very much exists, let us get out of the cocooned cities we live in and travel to the rural India and we shall see all the ultra thinking and traditions still going strongly, suppression be it political, social, cast, rich contra poor reigns supreme.

Some people have a stake in this and they would not like anything to change, sounds like a political statement,it is, it ( politics and politicians) sure does influence the Society a lot !

On a lighter note MK movies b4 he came a big name were ‘worth’ a watch like Picnic, Dr. Vidya, Hariyali Aur Rasta, Naqli Nawab…..

But for sure G, the critical reading of this movie made it interesting to read.

Ash, I agree—and believe me, although in the US an outcry would be raised if someone tried to make a woman marry the man who tried to KILL HER there are plenty of regressive (gilded with the term “traditional” but regressive all the same) attitudes here too.

My hatred of Manoj began with PAP, continued with RKM and Shor was the lid on the coffin. He is so patronizing, especially of women—I think honestly he makes some of the most misogynistic films out there. The patriotism I can tolerate, although it never has any kind of depth or common sense to it, but …. UGH.

leaving some comments after a while & I’m gonna have to set the cat amongst the pigeons on this one & own up as a bona-fida Manoj Kumar fan who thinks we should give the guy a break here.

I haven’t actually seen this particular movie, so can’t comment on it directly. However, I absolutely love Purab aur Paschim, Shor, & Roti Kapda aur Makaan.

Ok, in hindsight, the messages he was trying to convey may appear sexiest, anti-west, rah-rah Bharat etc., but at the end of the day all he was trying to do was make entertaining movies & give a social message in the bargain. Also, they did strike a chord with the masses & were popular at the time.

Anyway, that’s my 2-cents & I’m just going to open up my umbrella now to protect me in case there is a deluge from those that won’t agree !
:-)

Hi AJ :) I’m always glad to hear from you and never mind a thoughtful dissenting opinion either!!! I just can’t agree with you that he was only making entertainment—his movies reflect an attitude towards women that really makes my skin crawl, and their popularity can only have perpetrated that attitude in society. Raja’s comment below I think sums it up pretty perfectly. The women in his films aren’t human beings but Goddess-Whores, and all of them are so mistreated that it blows my mind. I really think he had some big issues with the female gender—I can understand that it might not matter to everyone, but it matters to ME :)

Hmm. Seem to remember a case recently where the judge thought it would be a good thing for the rapist to marry the girl he had raped. I’ve always hated the way girls are ‘tamed’ in the movies. It’s not only regressive, but also very, very boring. As is Manoj Kumar. He just puts me to sleep.

Banno..oh the Judge is so ‘concerned’ about the future of this hapless victim, that he very ‘honorably’ suggested this g8 idea of his, he shud have one of his sons to marry her, would he ?

Moral preachers we have enough of these sorts here, have a look at the fab KHAP, in Punjabi it wud mean NOISE, NOISY, MAKING ADO type of individual/s, a motley of old, ball less, frustrated men,,, pardon the lingo but that is a suitable term for them !

in Pehchan he was neither the Producer or the Director but the 3 movies yu mentioned Purab aur Paschim, Shor, & Roti Kapda aur Makaan, he was the main man and it did carry some sort of a message for the Society.

as a cinema lover I have seen all his movies I can get my hands on, so nothing against him as a person at all.

It bludgeons you with all the ‘morals’ available.
Hypocrisy seems to be the guiding principle of such films. It is sheer masochism to watch it.
I saw PaP and that was it, no more Manoj Kumar in bharat mode for me!
Though I’ve heard good things about Shor, I can’t watch it after what Jaya said about her experiences during the filming in an interview.

I for one don’t find any big deal in this talk of ‘pallu dropping ‘ and ‘midriff-exposing’ thing in the 70’s scenario. In those days, the term ‘glamour ‘ was synonymous with such tidbits. The heroines used to look well-fed, as well. I also remember reading Jaya’s complaints about MK in a film magazine immediately after the shooting of SHOR was over. These were the ‘in’ things, be it Sohanlal Kanwar (the Producer-Director of Pehchan) or Manmohan Desai or Prakash Mehra or anyone else who matters. Jaya too was no Alice in Wonderland. (Check out on her back-baring scene in EK NAZAR). Incidentally, Jaya was quoted as swearing never to work with B.R.Ishara again after EK NAZAR. Then why did she do the scene? In the late 70’s, in an interview, Manmohan Desai once openly came out against Saira Banu, who had reportedly refused to do such ‘favours’ to him during the shooting of BLUFFMASTER. And the reaction from the film industry? Total silence!

There are differences in context and the way actresses are asked to do such things, which may or may not be totally professional and reasonable for script reasons. I of course don’t think that pallu-dropping etc. is that racy any time, but it doesn’t matter what I think—what matters is how the actress is made to feel and what she has to do and why…

MK understood the pulse of the audience well. He made movies with a patriotic or social message. His movies usually had very good songs. All this made his movies huge hits amongst the masses. Shaheed, Upkaar, Purab Aur Paschim, Roti Kapda Makaan, Shor, Kranti…

All this is fine. Then why do I have a problem with him? Because I found him, behind his holier-than-thou facade, just another producer trying to exploit women. Maybe it is his style that he was never subtle about anything in his movies (even the message is repeatedly forced upon you) but whether it was Saira in PAP, or Moushumi’s rape scene in RKM or a certain bedroom scene in Shor, or Hema in Kranti – he always somehow managed to get angles of a woman’s body, trying to make it look part of the storyline. Good for the box-office, granted – but then admit it, man ! Don’t put on all this “aurat maa hai” attitude and treat them like this at the same time.

I remember reading an interview with him in the early 80s. Exactly this point was brought up – and he reacted “totally shocked” and of course vehemently denied it all.

Talking of messages, anyday give me Sunil Dutt. And a movie like Sadhna.

And funnily, even in Manoj Kumar’s patriotic movies, he somehow manages to get a woman’s body into the pic.

Yes, you have pinpointed the problems I have with him perfectly. He’s a hypocrite. And totally humorless, and totally narrow-minded, as most hypocrites are :) His films had very good songs, I will say that, but what a waste!

Perhaps it is because I haven’t seen PAP, Pehchaan etc. that I do like MK.

The only films I have seen of his are – Naqli Nwaab, Hariyali or Raasta, Himalay ki Godmein, Aadmi (along with Dilip Kumar) and a few other such films.

Himalay ki Godmein is one of my favourite films because of the beautiful visuals. It does have a message (doctors should practice in the villages too), and Mala Sinha is not at her best, but I didn’t mind her at all.
Upkar was alright, unless I missed some wrong message there. It was very violent.

One film about which I agree with you memsaab, was Shor.
I hated it. It was sooooo violent.
@Harvey, do tell us what Jaya said.

I think Raj Kapoor was another one who exploited women’s bodies.

I’ll avoid these films of MK so that I can continue to like the films of his which I have liked.

That above comment by harvey reminds me of something. Not related particularly to Manoj Kumar but still…

I saw an interview with Hema (on youtube) sometime last year. She mentioned that directors did try to get her to do exposing scenes but she tried to avoid them as much as possible.

One example she gave was in a scene where she had to bend down to pick up something. The director wanted her pallu to fall off. She insisted that she would pin it up and then do the scene. Which is what she did.

A few months later I saw Dus Numbri (1976). And there was this scene where Hema had to bend down to pick up something. And there was her pallu – perfectly pinned. I couldn’t help thinking of the interview.

This movie was made by Madan Mohla (it only had MK as hero) but since the topic of pallu came up here in harvey’s comment, it rang a bell.

I saw Mela (and loved it) all the time thinking that Sanjay Khan was Manoj Kumar. So that means I haven’t seen any Manoj Kumar movies although I recently saw the Roti Kapda aur Makaan songs with Zeenat and resolved to see the movie. Thanks for the MK warning. I’ll have to menatlly prepare myself for his brand of garbage.

Babita does look very pretty in this. She and Karishma are basically carbon copies of each other IMHO, and I never saw much of a resemblance to Kareena but there are little flashes of Kareena here and there in this. Still not worth sitting through though! (except those two songs)…

One need not sit through Himalay Ki God Mein. One can easily enjoy all the lovely songs on a song DVD or even Youtube. Mala Sinha as usual overacts and Manoj Kumar has only one pose through out – fingers on his cheek and presenting his side profile face!

Well rumors are/were always afloat that even the ‘super’ stars, and Directors or Producers of yday or today have used their status as casting couch so really it is not something new, exploitation of the ladies has been always spoken in whispered tones, if these guys were asked about it, will they ever admit it ? There is always no smoke without fire so really our industry is quite well known for these accomplishments, mean besides dropping Pallus and all that.

Cheers .)
P.S. I am not well informed on present Hollywood scenario but what little I know, we have casting couch phenomenon prevalent there also. Power and money will create such situations unfortunately.

I might just drop few lines here to defend Manoj Kumar, a bit. Well, he did do many non-Bharat movies under independent banners and must be allowed to share credit for the goodness in them. The movies under his own production did fine too, so there must be something correct at least for the Indian taste. On the issue of ‘exploitation of women’, it is not fair to separate out his films from any other mainstream banners’, e.g. Kapoors or Anands (Vijay/Dev). A cabaret dance number or rape scene was the norm in the 70s films. If Manoj had to get his message out to the masses through films (and Raj Kapoor obviously too realized this fact) then he had to dress them in what was the prevalent format.

Concerning Jaya’a ‘pallu problem’; I suppose it must have had been some kind of publicity stunt in interviews for her song ‘pallo latke re’ that was with another favourite of yours, Sanjeev Kumar! BTW mem, did you understand what Gangaram speaks of the Western lady in the song above?

If I really have to find something irritating in Manoj Kumar productions, it has to be those trademark ‘kaleidoscopic’ songs. But I haven’t seen many of his films though, maybe can start now, with this one, nice music, seems perfect!
Cheers

I appreciate your views, but I think I have been completely fair to pull him out of the lineup re: women. He far more than the others goes on and on and on about the saintliness of “good” women and holds them to a higher standard than men (a completely sanctimonious and hypocritical higher standard). UGH UGH UGH. Putting women on a pedestal does not do us any favors, and it’s only made worse when he then goes on to slap them around and chastise them when they don’t meet his idea of “perfect”. It is not scanty clothing that I object to, it’s his mindset which really annoys me. He objectifies women—they are not human beings in his films, but objects to either worship or torment, and that is just never going to be okay with me. (Rape scenes are fine too when they have a point and are dealt with sensitively, but when they are put in solely for the sake of titillation it is just gross.)

The subtitles for the song mostly just translate Ganga as saying he doesn’t understand these modern girls. I did say that I even liked Ganga in the song! :) but perhaps it’s a case of ignorance is bliss.

I am not in disagreement with you, Mem. Nonetheless, assuming that Champa was deeply in love with the characterless bloke (despite the fact that he sold her twice to the brothel), it kind of justifies that (the brother) Ganga kept insisting on their marriage. Appears like an extreme version of Gandhian philosophy, ironically conforming to the liberal logic – a person, no matter how corrupt, should be given a second chance (to commit further crimes).

Ganga is unable to grasp why, being a female, the ‘foreign’ lady shaves. Likable character though (in the song). Reminded me of your remark on young Nutan’s moustache! ;-)

Ha ha! If she was in love with him after he tried to kill her twice, let alone sold her TWICE into a brothel then I guess she deserved him. But actually there was no such proclamation of love on her part, it was all Ganga pulling the strings and telling her what to do. Being a “good girl” she was willing to submit to that. UGH.

:) and thanks for the better translation!!! I liked Ganga in the song, he was cute. But otherwise, I kind of wanted to strangle him (I guess you got that part already) :D

can any one out there tell me Chand Usmani (champa in this movie)
is still living? incidentally she was awarded the filmfare’s supporting actress award for this movie.
Also any other details of this actress will be appreciated

Perhaps Shammi wud know since he was signed up as a hero with the Kardar film company, under the direction of Mr. Mahesh Kaul and the film was “Jeevan Jyoti” ??

A shot in the dark……..

but must state a sordid state of our Bollywood, we do not have a clue of where about of these folks, I mean we are as good as BLANK. Some sort of archives wud hv been of g8 help, but that I am afraid will never come.

There is no such thing as a handsome jackass :D I pretty much always find him insufferable, probably colored by my knowledge of his later catastrophes but still. This film is so typical of the movies he made. Ugh.

Why all this hate for MK? Could it be that his view of NRI and western influence over India and its culture was so crical and negative ? And women influenced by western culture in his movies were morally corrupt. Since the theme of his movies were always about India and this view was and is prevlant I see nathing wrong with. What I like about MK movies were the songs ,the incredibly creative cinematography and very strong story telling. Up RKM his movies were not kitche and don’t lend themselves to the kind of I ironic take we love in Indian cinema. MK made serious movies but made them for the masses. And he included elements that would assure success such sex, nudity and violence. Wow, how dare he? He was no different than 990% of film makers in the world. Sorry “memsaab” that his movies don’t lend themselves very well to your particular take of 60’s and70’s Indian cinema. And I see so many others agree with you,I am not surprised. By agreeing with you they feel as if they too are so hip and western and just like their “memsaab”. It is also become very fashionable in India to be critical of patriotic and nationalistic sentiments. And that old notion of the virtuos Indian women is considered very old fashioned ,after all American pornstars at becoming mainstream Bollywood starlets. Something mr. Monoj Kummar would not approve. Yes ,India has come a long way baby! And there is no room for mr.Bahrat any more.

Did you READ this post? It doesn’t seem that you did. I think that I explained very well my hatred for MK and his particular brand of misogyny. His black-and-white attitude of “everything India is great” and “everything Western is bad” is annoying and stupid, but his obsession with the trope of woman as goddess/whore/object really pisses me off. This film is a classic example of it, although he’s not the only guilty party by any means. People who agree with me on this are people who understand that women are people with flaws and virtues—just like men!—not sycophants wanting to blindly agree with me.

To be honest, I’ve never seen any of Manoj Kumar’s ‘Mr. Bharat’ movies, so can’t comment on them, but I happened to watch a few scenes of Roti Kapda Aur Makaan some months ago. My word, he personified the word stiff- looked excessively starched and pressed using a pretty heavy electric iron!